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The article focuses on two monuments in Croatia that commemorate the Second World War and the Holocaust. The first is the Stone Flower monument (Kameni cvet/cvijet) located at the Jasenovac Memorial Site, designed by Bogdan Bogdanović and unveiled in 1966. The second is the Tangible Absence monument (Prisutna odsutnost/Memorial to Victims of the Holocaust and the Ustasha Regime), unveiled 77 years after the war's end. It is located in the centre of Zagreb and was created by sculptor Dalibor Stošić and architect Krešimir Rogina. Both of these monuments are representative of how the official memory regarding the events of the Second World War is changing in Croatia. They reflect the internal social and political changes occurring within the territory of former Yugoslavia (now in this case Croatia). The main objectives of this text are to provide a comprehensive description of the monument creation process, highlight the meanings conveyed by these monuments, and to address the question of how new official forms of commemoration in Croatia respond to the global processes of reimagining Holocaust memory. [ABSTRACT FROM AUTHOR]

An Archaeology of Disability is a research station designed for the Venice Biennale, Architettura 2021 by David Gissen, Jennifer Stager, and Mantha Zarmakoupi and exhibited later at La Gipsoteca di Arte Antica of Pisa in 2022, at the Canellopoulos Museum of Athens in 2023, and at the Archaeological Museum of Thessaloniki in 2024. The research station works with languages and forms used by contemporary disabled people to reproduce elements—a ramp, a seat, an art gallery—from the ancient Acropolis in Athens that vanished long ago and that have little or no extant material forms. Among the many people who contributed to the research station are two performers, Christopher Tester and Pia Hargrove, who performed, respectively, the ekphrastic film and audio description Sēmata (Signs) (2021). The following dialogic essay draws on conversations with the curators and performers led by Brooke Holmes and Pasquale Toscano. This dialogic form surfaces some of the collaborative aspects of the research station to highlight the ways in which such collaboration brings different lenses to antiquity. [ABSTRACT FROM AUTHOR]

Copyright of Revista Didasc@lia: Didáctica y Educación is the property of Universitaria de Las Tunas, Centro de Estudios de Didactica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An Archaeology of Disability is a research station designed for the Venice Biennale, Architettura 2021 by David Gissen, Jennifer Stager, and Mantha Zarmakoupi and exhibited later at La Gipsoteca di Arte Antica of Pisa in 2022, at the Canellopoulos Museum of Athens in 2023, and at the Archaeological Museum of Thessaloniki in 2024. The research station works with languages and forms used by contemporary disabled people to reproduce elements—a ramp, a seat, an art gallery—from the ancient Acropolis in Athens that vanished long ago and that have little or no extant material forms. Among the many people who contributed to the research station are two performers, Christopher Tester and Pia Hargrove, who performed, respectively, the ekphrastic film and audio description Sēmata (Signs) (2021). The following dialogic essay draws on conversations with the curators and performers led by Brooke Holmes and Pasquale Toscano. This dialogic form surfaces some of the collaborative aspects of the research station to highlight the ways in which such collaboration brings different lenses to antiquity. [ABSTRACT FROM AUTHOR]

В сентябре 2024 года исполняется 85 лет разгрому японской армии на реке Халхин-Гол. Общая победа монгольских и советских войск стала важной вехой для хода дальнейших драматических событий 1940-х годов. Тема халхингольского сражения получила отражение и в изобразительном искусстве, особенно в монументальной скульптуре. Наиболее выдающимся памятником является монумент, созданный в 1981–1984 годах совместной советско-монгольской группой скульпторов и архитекторов. Одним из авторов стал Цэвэгмид Амгалан, талантливый скульптор, выпускник Академии художеств имени И.Е. Репина. Поскольку творчество Ц. Амгалана очень мало освещено в российском искусствоведении, автор статьи ставит перед собой ряд задач. Во-первых, рассмотреть основные этапы биографии скульптора, особенно период его обучения в Ленинграде. Во-вторых, провести анализ композиционных особенностей монумента, посвященного победе на Халхин-Голе. Исследование проведено с использованием историко-биографического и иконографического методов.

Abstract The monument, or the memorial, as a place of memory and emotional support, has been the focus of scholarly attention. Although existing studies have explored its space’s materialization, identity, history, and memory content, the materials about its design transformation have yet to be deeply excavated. Based on the relevant theories of place and place-making, the researchers constructed a knowledge system of the place-making model, the spatial vector pattern, and the worship behaviors of monuments. On this basis, a qualitative research methodology is adopted. Through case studies and participant observation, the design transformation of the monument/memorial is interpreted in the following five dimensions: function theme, morphology style, spatial relationship, visitor experience, and symbolic meaning. The results of this study show that the monument/memorial tends to promote in-depth public reflection and critical engagement with history, reflecting changes in how society perceives historical events. This research provides new perspectives for understanding the multidimensionality of the monument/memorial but also emphasizes the need to continue exploring its interaction with the socio-cultural context.

Objective/Context: In the field of Holocaust studies, the Latin American experience has occupied a liminal space. Even when the global character assumed by its forms of remembrance is widely accepted, little attention has been paid to the national cases of this region. This paper deals with a specific national case through the construction record of the National Monument to the Victims of the Jewish Holocaust, located in the city of Buenos Aires, Argentina. The present research reveals the legal and administrative process that accompanied its gestation, the recognition of the actors that intervened throughout the period, and, finally, the character and debates that the architecture of the pantheon provoked. This cycle, which lasted a little more than two decades, allows us to qualify the meaning of the global character of Holocaust memory by considering how this experience was redefined in a national context. Methodology: For this research, qualitative techniques are used in the analysis of the legislative and patrimonial records, journalistic sources, interviews with involved actors, and a documentary film called “Monument,” which aims to give an account of the history of its construction and the representational matrix of that memorial. Originality: Although there have been, in recent years, some works that addressed the memory of the Holocaust in Argentina, they focused on various cultural media: literature, film, and testimonial narratives. This paper addresses an object whose materiality is different—monumental—and which was conceived as a public policy of commemorative character. The analysis of the construction of this memorial pantheon allows recognition of how the transnational dimensions of Holocaust remembrance intersected with aspects of the Argentine political process of the last twenty years. Conclusions: The analysis of the construction process and the materiality assumed by its architecture demonstrate, first, how the global dimensions of Holocaust remembrance interact with local contexts and, second, the tensions raised between the actors and organizations that promote its memory and the victims of Nazi persecution in Argentina

The monument, or the memorial, as a place of memory and emotional support, has been the focus of scholarly attention. Although existing studies have explored its space's materialization, identity, history, and memory content, the materials about its design transformation have yet to be deeply excavated. Based on the relevant theories of place and place-making, the researchers constructed a knowledge system of the place-making model, the spatial vector pattern, and the worship behaviors of monuments. On this basis, a qualitative research methodology is adopted. Through case studies and participant observation, the design transformation of the monument/memorial is interpreted in the following five dimensions: function theme, morphology style, spatial relationship, visitor experience, and symbolic meaning. The results of this study show that the monument/memorial tends to promote in-depth public reflection and critical engagement with history, reflecting changes in how society perceives historical events. This research provides new perspectives for understanding the multidimensionality of the monument/memorial but also emphasizes the need to continue exploring its interaction with the socio-cultural context. [ABSTRACT FROM AUTHOR]

The importance of monuments goes beyond representing or commemorating some event or character. In our everyday life we come across many monuments that we sometimes overlook, it is worth asking ourselves what is the importance of these monuments and if they still remember the same as when they were built or if they have gone through processes of resignification, destruction, appropriation or, even more, if they have fallen into oblivion. This paper will attempt to address these questions by taking as a reference two monuments in the city of Xalapa, Veracruz, Mexico. [ABSTRACT FROM AUTHOR]

This research presents three archival studies conducted on three different databases, on the location of memorials. Study 1 compares French monuments dedicated to the Wars of 1870–1871 (defeat) and 1914–1918 (victory). We note a proportionally greater presence in public spaces of monuments dedicated to the 1914–1918 War. Study 2 concerns the memorials to political repression in the Russian Federation, erected before and after 1991 (date of promulgation of a victim rehabilitation law). Results show an increase of presence of monuments in the public space starting from 1991. Study 3 concerns the location of monuments dedicated to the Second World War in the Russian Federation. No significant variation in the locations of these monuments is observed between 1951 and 2010. The results of these studies suggest that the location of monuments could be a relevant indicator to assess the way a society views a commemorated event at a given moment. [ABSTRACT FROM AUTHOR]

This article analyzes the removal and restoration of the "Statues of Peace" in South Korea. Although the presence of the statues has generated political tensions, various attempts to take down the statues have been met with recalcitrance and restorations. This article argues that processes of demolishing, re-erecting, and making modifications to the monuments function as ways of provoking a public debate, in the process becoming themselves a mnemonic device. This article concludes that despite criticisms of the concept of counter-monument, first formulated by James E. Young, this concept can become a valuable design tool if it is understood as a continuum rather than a binary construct. This study contributes to the current academic debate regarding counter-monuments and urban memorials by illustrating how the tactics of the counter-monument may vary. [ABSTRACT FROM AUTHOR]

The article examines the history and practices of establishing monuments to participants of the Second World War (Great Patriotic War) that appeared in Kazakhstan after the collapse of the Soviet Union. Monuments are considered as a certain epistemological source for studying the various trends of the time, as evidence of public discourses popular during the period from the early 1990s to the present. Phenomenological and existential approaches are used in interpreting the question of how to understand heroism, what it means to be a hero, and how this phenomenon is correlated with ideas of heroism in Kazakh culture. The article is based on the analysis of cases related to the personalities of Bauyrzhan Momishuly, Rakhymzhan Qoshqarbaev, Aliya Moldagulova and Manshuk Mametova. The analysis includes: determining the location of the monuments; visual documentation and initial description. Content analysis of media materials and specialized literature on genealogy (shezhire), interviews with actors and experts, collecting oral histories, and analyzing documents accompanying the appearance of monuments. [ABSTRACT FROM AUTHOR]

Objective/Context: In the field of Holocaust studies, the Latin American experience has occupied a liminal space. Even when the global character assumed by its forms of remembrance is widely accepted, little attention has been paid to the national cases of this region. This paper deals with a specific national case through the construction record of the National Monument to the Victims of the Jewish Holocaust, located in the city of Buenos Aires, Argentina. The present research reveals the legal and administrative process that accompanied its gestation, the recognition of the actors that intervened throughout the period, and, finally, the character and debates that the architecture of the pantheon provoked. This cycle, which lasted a little more than two decades, allows us to qualify the meaning of the global character of Holocaust memory by considering how this experience was redefined in a national context. Methodology: For this research, qualitative techniques are used in the analysis of the legislative and patrimonial records, journalistic sources, interviews with involved actors, and a documentary film called "Monument," which aims to give an account of the history of its construction and the representational matrix of that memorial. Originality: Although there have been, in recent years, some works that addressed the memory of the Holocaust in Argentina, they focused on various cultural media: literature, film, and testimonial narratives. This paper addresses an object whose materiality is different--monumental--and which was conceived as a public policy of commemorative character. The analysis of the construction of this memorial pantheon allows recognition of how the transnational dimensions of Holocaust remembrance intersected with aspects of the Argentine political process of the last twenty years. Conclusions: The analysis of the construction process and the materiality assumed by its architecture demonstrate, first, how the global dimensions of Holocaust remembrance interact with local contexts and, second, the tensions raised between the actors and organizations that promote its memory and the victims of Nazi persecution in Argentina. [ABSTRACT FROM AUTHOR]

Copyright of Aposta is the property of Aposta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Aposta is the property of Aposta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The function usually assigned/expected of the monument was impressing, intimidating, and instructing. Against this concept of the monument stands the popular monument, which does not seek to instruct, edify or intimidate, which, as in the case of the Augustin-Fountain in Vienna's 7th district, could even place a 'drunkard' on the pedestal instead of 'heroic figures', and which was nevertheless politically instrumentalised. The article describes the monuments that were erected or planned for popular 'Viennese types' in the 19th and early 20th centuries and shows the connections between the 'mythification' (in the sense of Roland Barthes) of these 'folk types' and Karl Lueger's populist politics. [ABSTRACT FROM AUTHOR]

This paper examines official negotiation methods behind the renovation and simultaneous use of the Staré Hrady castle between 1949 and 1993, as an example of the rescue of a cultural monument in communist Czechoslovakia. It is concerned with the mechanisms of actor-institutional communication at regional level at work within the broader circumstances prevailing in then Czechoslovakia, arguing that this negotiation was in fact the driving force behind the successful reconstruction of this castle after many years of expert-led volunteer work.

In the wake of accelerated development in the vicinity of the Belgrade Fair and further plans for construction in this part of the city, the events that have unfolded during the past decade of Belgrade's urban development have situated Belgrade Fair as a key topic in the spotlight of the Serbian urban planning community. The objective of this paper is, first and foremost, the formulation of a methodologically broader critical matrix regarding the formation of an approach to the future adoption of strategies for the urban renewal of the Belgrade Fair (Sajam) complex. This complex, in addition to basic research on its architectural and urban qualities, also includes numerous current and temporal aspects from which it is possible to draw conclusions about the issue at hand. These analyses of the architectural and urban value of the fair complex observe the key themes and concepts that define the Sajam's spatial and developmental paradigm. They also accentuate current questions regarding the defragmentation of the heritage of modern architecture in architectural practice. Also highlighted, in addition to the architectural and urban planning composition of the first construction phase between 1953 and 1957, are the today less-known architectural and engineering aspects of the exhibition halls that lack heritage status, along with an exploration of the renewal or transformation of this space through an analysis of recent conceptual design proposals. This study, through synthesis, seeks to establish a comprehensive picture and the broader critical framework needed to pass judgement before the ideological and constructive breakdown of Belgrade's exhibition complex as a paradigm of Yugoslav purism. The conclusions leave space for the appreciation of different approaches, opening up new questions that clearly require social consensus and which have not yet been answered in the public or professional space. [ABSTRACT FROM AUTHOR]

Copyright of Builder (1896-0642) is the property of PWB MEDIA Zdzieblowski sp.j. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Direito e Práxis is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Objective: This article analyzes the monument‐building and meaning‐making processes in the construction of the Statues of Peace erected to commemorate the Korean "Comfort Women." The tensions surrounding the erection of the Statues of Peace did not stop with their installation, as people then started to place different objects on the statues. This article uses actor‐network theory (ANT) to shed light on the formation that this has involved of a new representational and cultural politics. Methods: First, archival research was conducted to understand current issues involving both ANT and the Statues of Peace. Participant observations and semistructured interviews with NGOs were conducted. Results: I look at the afterlife of the Statues of Peace in cases involving not only destruction or restoration but also smaller acts of support or subversion. New material quality and meanings were formed by these actions. Conclusion: I show that ANT is a useful framework for understanding the representational complexity surrounding public monuments and their reception. [ABSTRACT FROM AUTHOR]

The Shahyad monument, which has served as a symbol of Tehran—and by extension of modern Iran—since its inauguration in 1971, stands at the center of a huge open space that has been successively appropriated by Pahlavis, revolutionaries, and the Islamic Republic and has been persistently mediated and remediated in its relatively short life. This contested urban monument embodies the complex story of a space in which multiple sets of illusions—a Pahlavi fantasy as well as a revolutionary dream—are undone. In this paper, the space's story is traced through varied types of media and archival material, including plans and architectural drawings, official reports and correspondences, and especially through journalistic photographs of the Square in 1979 and its representation in various media afterward. I examine shifts in this specific space at particular and historically grounded conjunctures, honing in not just on the site's meta-narratives and its grand spectacular events, but also on the decentralized and ignored narratives and histories, demonstrating how they have reworked the meaning of this monumental space, turning it into a stage for contrarian politics. Focusing on the monument during the 1978-79 Revolution, I argue that the transformations in the meaning and perception of the site at that particular moment are indeed forces of a fundamental remaking, in that they open up the monumental site to further appropriations, as we are currently witnessing. [ABSTRACT FROM AUTHOR]

Temple of Zamolxe, pagan Roman temple of the god Mars, mausoleum of Trajan's best friend, the general Longinus Maximus, church built by the Goths in the 4th century, "divine work stolen by nocturnal genies"1, the first church in Haţeg and perhaps in the entire country, "unparalleled in all Romania"2, foundation of Litovoi, a church similar to Sân-Nicoara in Curtea de Argeş, or a church with a triptych as valuable as that of the famous Rubliov, "St. Nicholas" Church is an Orthodox place of worship in Densuș, Hunedoara county; one of the oldest churches in Romania, apparently dating from the 12th-13th centuries, built on the ruins of a building from the 4th century AD, it has a square plan, with the nave pierced by a tower, resting on a vault and equipped with a deep semicircular apse; the entire construction is covered with stone slabs, and most of its material (river boulders, marble slabs with Latin inscriptions, capitals, tombstones, sewer pipes) comes from Ulpia Traiana Sarmizegetusa, the capital of Roman Dacia (located nearby); the mural painting of the monument dates from the 15th century. The Densuş church, like any unclassifiable and imprecisely dated monument, becomes a mitigating argument for any demonstration about the descendants of the Dacians, the beginning of Christianity, the paths of migratory peoples, the existence of Romanians or about the creative and universal genius of our people. [ABSTRACT FROM AUTHOR]

The year 2023 marked 130 years since the first Polish seasonal workers, the so-called beet girls (roepiger), arrived on the islands of Lolland-Falster, as the first group of Polish immigrants in Denmark. In 1940, a monument called "Roepiger" was erected in the market square of Sakskøbing and became part of human memory. But who this Danish sculpture depicts, and why, continues to be variously interpreted to this day. Social memory supports distances between the two cultures, differences in memory policies and attitudes in public diplomacy. Certain meanings were attached to the sculpture by the local Danish community, others by Poles living in Denmark, and still others by Polish and Danish officials. Finally, the personal memory of the sculpture's author, Gottfried Eickhoff, about its genesis should be taken into account. The article argues that the plaque, which was funded by Polish diplomacy and affixed to the monument's pedestal during interstate ceremonies in 2015, constitutes an appropriation. The market in Sakskøbing was given the status of a Polish memorial, passing over the coexistence of different forms of memory in cultural circuits, as characterized in Aleida Asmann's theory of memory. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin of Ablai Khan KazUIRandWL: Series 'Pedagogical Sciences' is the property of Kazakh Ablai Khan University of International Relations & World Languages and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The erection of memorials and monuments plays an important role in the historical memory of humanity, self-recognition of society and awareness of the social nature of memory. From this point of view, we looked at the architectural-spatial environment of Tsitsernakaberd, the memorial complex dedicated to the victims of the Genocide, the organization of which is subject to the perpetuation of historical memory and is one of the manifestations of the preservation of national identity. It finds its parallels in world practice. The motivation for the construction of the memorial complex was the fiftieth anniversary of Yeghern. The Tsitsernakaberd hill has been completely culturalized, the landscape has passed through four conceptual lenses: ''text'', ''arena'', ''performance'' and ''wound'', achieving the harmony of hand-made and non-handmade. In the work, a complete examination of the architecture of the memorial complex was carried out by the method of comparative analysis of professional literature and personal observations. In conclusion, it can be said that the memorial dedicated to the memory of the Genocide victims, apart from its historical and artistic significance, is also a universal value and a sacred place for all those who consider human life as an absolute value regardless of nationality, religion or race.

Archaeological research at the Sungai Batu Archaeological Complex (SBAC), which has been carried out until 2023, aims to complete the chronological data and urbanization process of the ancient Kedah. This study will especially prove that the ongoing urbanization process is aimed at developing the iron smelting industry and trade in ancient Kedah, especially in SBAC. This is because archaeological research at SBAC has proven that with the existence of the ancient Kedah iron smelting workshop at SBAC, river jetties, port management, rituals, and Buddhist monuments began to be erected, all of which can be determined by chronometric dating. The results of the chronometric dating have proven that the ancient Kedah Kingdom existed since the 6th century BC and was oriented towards the trade of iron resources, which allowed the use of the area to grow rapidly. The process of urbanization and land use clearly conforms to Lynch's principle, which emphasizes the principles of 1) paths, 2) edges, 3) districts, 4) nodes, and 5) landmarks in the development process of land use and urbanization in the complex.

This article addresses competing visions of sovereignty that underwrite recent debates about monuments. It turns to a well-known monument built to commemorate the loss of British lives in the Sepoy Rebellion of 1857–59: the Kanpur (Cawnpore) Memorial Well Monument. The memorial stood over a well in which the bodies of 200 British women and children killed by Indian sepoys lay buried. A large landscaped enclosure was built around the memorial and only European visitors were given access to the site. On August 15, 1947, the day of Indian independence from British rule, a crowd overran the site and defaced the monument. Much of the monument was subsequently dismantled and moved to a more secluded site within the Kanpur cantonment. The desire among the British stakeholders to leave no trace of its former identity focused attention on those aspects of meaning ascribed to the monument that could not be erased. Building on the Hobbesian idea of passion as a key element of sovereignty, this article argues that the monument may be viewed as an aegis — an apotropaion — that deflects gaze more than it enables attentive looking. • Competing visions of sovereignty underwrite the recent debates about monuments. • Analysis of the geography of monuments helps us understand sovereignty and its relation to colonialism. • Colonial sovereignty is a constant state of war. • The test of sovereignty resides in its exercise by those who claim to operate under the aegis of sovereignty. • The Kanpur Memorial Well Monument demonstrates the making/unmaking of the aegis that was intended to tackle fear and failure. [ABSTRACT FROM AUTHOR]

Archaeological research at the Sungai Batu Archaeological Complex (SBAC), which has been carried out until 2023, aims to complete the chronological data and urbanization process of the ancient Kedah. This study will especially prove that the ongoing urbanization process is aimed at developing the iron smelting industry and trade in ancient Kedah, especially in SBAC. This is because archaeological research at SBAC has proven that with the existence of the ancient Kedah iron smelting workshop at SBAC, river jetties, port management, rituals, and Buddhist monuments began to be erected, all of which can be determined by chronometric dating. The results of the chronometric dating have proven that the ancient Kedah Kingdom existed since the 6th century BC and was oriented towards the trade of iron resources, which allowed the use of the area to grow rapidly. The process of urbanization and land use clearly conforms to Lynch's principle, which emphasizes the principles of 1) paths, 2) edges, 3) districts, 4) nodes, and 5) landmarks in the development process of land use and urbanization in the complex. [ABSTRACT FROM AUTHOR]

The rural area of Ciudad Bolivar is a territory that has developed on the outskirts of the city. Far from sharing the same cultural values as the city of Bogotá, its social dynamics are more closely related to peasant traditions and customs. Initially, this article explores the different connections established between two territories founded in the same space but, at the same time, responding to different ways of constructing their own identity and culture. In a second phase, a methodology is proposed to explore the conditions of oblivion and how these have given rise to different forms of memory representation. In conclusion, a proposal is presented whereby the various forms of memory found in this territory generate an instrument of representation derived from the different specificities that shape this community. In this case, the article describes a path which attempts to restore the value to a form of memory that has endured the various onslaughts of oblivion. [ABSTRACT FROM AUTHOR]

Copyright of Memorias is the property of Fundacion Universidad del Norte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The object of the study is the collection of medieval artifacts owned by the National Museum in Poznań, whose provenance is described as „from Lubusz Land“, with the purpose of organizing the knowledge about sculptures and paintings from this area. Such an identification of the origin of the monuments is insufficient to determine when they were created, and as a result, raises many other research problems that are highlighted in the text. These issues are characteristic for this particular region, which is a conglomerate of historical lands contemporaneous with the monuments under consideration. For this reason, I devoted both time and attention to the problem of relocation of those monuments, such as transporting them outside the province and transferring them between churches or museums. However, the lack of study on sculptures and paintings from the Lubusz Land necessitated the identification of potential avenues for future scientific initiatives. The article concludes with a catalog of monuments „from Lubusz Land“ from the collection of the Medieval Art Gallery of the National Museum in Poznań, including several published for the first time. [ABSTRACT FROM AUTHOR]

The article attempts to highlight the content of commemorative practices in Ukraine and Russia in the context of the current war. The full-scale invasion of Russia on February 24, 2022, gave a strong impetus to qualitative and quantitative changes in both Ukrainian and Russian socio-cultural environments. In the context of the existential confrontation between both countries, commemorative practices have become key in the struggle of identities. Ukrainian commemorative practices are developing as a countercultural element in relation to Russia. And accordingly, they are aimed at promoting national unity and resistance to Russian aggression. The socio-cultural space is changing through decommunization, de-Sovietization, and de-imperialization. The issue of the place of the Soviet heritage in the Ukrainian socio-cultural space is particularly controversial. The above processes cannot be based solely on emotional grounds, but are part of a system. “Sovietness” does not disappear after renaming streets, demolishing monuments, and dismantling the attributes of communist rule. What is needed is the decommunization of consciousness. The Russian commemorative environment is based primarily on the glorification of the army, the popularization of the cult of death, and the rewriting of history. This list is primarily aimed at preserving the Soviet-imperial identity and restoring the markers of the empire in their state and on the territories they managed to occupy. At the same time, there are attempts to destroy Ukrainian identity and statehood as obstacles to the restoration of the empire. In the end, we can say that commemorative practices in the current military conflict have added a new cultural dimension. In general, the topic of the formation and role of commemorative practices in the Russian-Ukrainian war is complex and has broad implications for modern society. This article and future studies of these practices will contribute to a deeper understanding of the impact of the war on the collective consciousness, identity formation, and the prospects for further cultural and social processes. [ABSTRACT FROM AUTHOR]

Copyright of Türkologiya is the property of Presidium of the National Academy of Sciences of Azerbaijan and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Santander Art & Culture Law Review is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Artvin Çoruh Üniversitesi Orman Fakültesi Dergisi is the property of Artvin Coruh University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article characterizes the changes in the museum sphere of Lviv that occurred after Western Ukraine joined the Ukrainian SSR, in particular, in the activities of the Lviv Historical Museum in the period from the end of 1939 to June 1941. The process of liquidation of individual Lviv museums is described, and the disbanding of their museum collections is traced. Sights that come from liquidated museums and today are kept in the funds of the Lviv Historical Museum have been partially analyzed. [ABSTRACT FROM AUTHOR]

At the Nobel ceremony in December 1923, W.B. Yeats chose to speak about "The Irish Dramatic Movement". In his lecture the poet paid homage to the efforts which brought about modern Ireland and focused his attention on the achievement of a group working together closing, most notably, on the contribution of close friends J.M. Synge and Lady Gregory. The Nobel Lecture represents a crucial step of the poet's process of recognition of their and his own work, but also of his ability to mythologise and celebrate those he admired, mostly his circle of friends. The present work aims to explore the memorialising, rather, monumentalising process in W.B. Yeats, a remarkable aspect of his production, conspicuous in his late production, and to analyse the poetic and linguistic strategies adopted by him to this end. The article will conclude focussing on "The Municipal Gallery Revisited" as a monument poem. [ABSTRACT FROM AUTHOR]

Damage of the historical monuments was reported during the earthquakes in the nearby underground tunnels such as twin tunnels. The dynamic stress concentration has been used as a major parameter that evaluates the damage of underground structures. In this study, the dynamic interaction between arge-Karim Khani citadel and twin tunnels was investigated subjected to seismic P waves. The scattered wave fields by twin tunnels were determined with wave function expansion and Fourier transform criteria. In this regard, a new approach was employed to determine scattering based on dynamic stress concentration criteria around two circular tunnels. The seismic responses of twin tunnels were calculated with a verified finite element method using different ranges of the incident seismic wave. The dimensionless analysis was used to evaluate DSCF as known criteria to evaluate scattering. In this way, the different ranges of variables including incident wave angles, frequencies, tunnel sizes, and distance between monitoring point and tunnel center were considered in dimensionless analysis. The results illustrate that DSCF was decreased with increasing the position off the monitoring point and reducing the size of tunnels. [ABSTRACT FROM AUTHOR]

Copyright of Srbski Jezik is the property of University of Belgrade, Faculty of Philology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this paper is to explore the forms of official and unofficial negotiation, using the rescue of the Staré Hrady castle, renovated between 1949 and 1993, as a case in point. The paper first outlines the earlier history and current situation of this monument, then the cultural and legal context, the actors and, lastly, the history of the rescue itself. It then proceeds to examine the final phase of the rescue to provide an illustrative example of a castle renovation project that was financially and ideologically supported by the regime and where the rescue went hand in hand with its cultural use, which served as an argument for the renovation in the first place. The paper discusses the forms of communication formally required for the official negotiation related to this project, as well as the informal level of the negotiation, which existed outside the written sources. It concludes that both of these negotiation levels were equally important for the preservation of the Staré Hrady castle: they were used as dictated by the situation and ultimately aimed at achieving the same goal: to preserve a cultural monument whose restoration had been considered impossible and pointless a little more than two decades earlier. [ABSTRACT FROM AUTHOR]

This article presents a study of the various forms of memorialization in the former USSR, tracing their roots back to ancient Russia and examining their prevalence in modern times. The article provides a detailed overview of forms of perpetuation, encompassing cultural traditions such as songs and bylinas, as well as religious buildings, memorial tablets, and memorial complexes. Technical terms are explained upon first use, and sentences are formulated with clear structure and causal connections. In contemporary times, the most prominent means of preserving historical memory are the eternal flames in urban areas, grandiloquent propaganda, and the practice of naming significant sites after the heroes of the homeland such as airports, squares, and roads.

Introduction. Adapting to the modern circumstances of social life, managers of socio-cultural sphere must improve their forms of work and introduce new methods and tools for the implementation of socio-cultural activities. Therefore, the development of a video tour is an integral part of the work of a manager of socio-cultural activities and it requires the mastery of certain skills in the development and presentation of a certain product. Purpose and methods. The purpose of the article is to highlight features of developing a video tour as a component of the manager's activity in the socio-cultural sphere, to identify and justify the main stages of its implementation. Research methods include the analysis of cultural, art history, and philosophical literature; historical-retrospective, touristic, technological, artistic and globalist approaches. And also the method of SWOT analysis, which makes it possible to note a sufficient number of advantages in the development of video tours. Results. The results of the conducted research allow us to determine the importance of the practical use of video tours in the professional training of future managers of socio-cultural activities. Conclusions. The strategic planning of the development of the video tour is outlined, which consists of several interrelated stages. Also, the concept of “memorialization” was specified, the meaning of the concepts of “memorial” and “monument” was revealed, the definition of the concept of “video-excursion” was formulated, by which we understand a methodically thought-out remote visit of important cultural places; the definition of the concept of “digitalization” was analyzed and considered in the context of the development of a video tour.